The exhibition, which begins in the Carriage Entranceway on the ground floor of the Royal Opera House and continues upstairs in the Amphitheatre Bar, gives intriguing glimpses into the creative process and the many talented individuals involved in bringing a new ballet to the stage.

Royal Opera House Collections installed the exhibition over two weeks in August, which proved a challenging timescale. Raven Girl was suspended from her trapeze in the Carriage Entranceway; pages from the Wardrobe Department's 'costume bibles' were juxtaposed with Mortimer’s costume designs; reference images and costumes were mounted in the Foyer link cases; and City People and Chimeras were persuaded into small showcases in the Cloakroom Corridor.

Upstairs in the Amphitheatre Gallery, McGregor’s set of Niffenegger’s luminous aquatint etchings tell her story of Raven Girl, while opposite, production photographs of the ballet tell McGregor’s interpretation of Raven Girl. Find out more about their collaborative process.

Other photographs show the set being built and painted at the ROH Bob and Tamar Manoukian Production Workshop in Thurrock and McGregor in rehearsal with dancers of The Royal Ballet. Text panels describe the creative process and the work of the skilled artisans involved. The model box can also be seen in the Amphitheatre Bar, opposite the costumes worn by Sarah Lamb as Raven Girl and Eric Underwood as Raven Prince in their pas de deux at the end of the ballet.

A short film, including projections by Deepres as well as interview and rehearsal footage, is being completed for the Amphitheatre Gallery, and a leaflet to guide visitors around the exhibition will also be available in early October.

Exhibitions can be visited for free during normal daytime opening Monday-Friday, 10 am–3.30 pm. Before making a special visit, please call +44(0)20 7304 4000 to check that the front of house spaces are open.

As well as creating an inspiring video for the day of live-streaming, the vision was to create a unique immersive experience for this year's Stephen Fry-curated Deloitte Ignite festival. That's where I come in, using some of the submissions, as well as additional recordings featuring the Youth Opera Company and Thurrock Community Chorus and ambient sounds to create something unique.

Especially interesting were the performances in outdoor settings such as the Imperial Gardens in Kyoto. Each has a unique ambience but one of my favourites is from YouTube sensation Maestro Wenarto in Seattle who performed his extract with a karaoke backing!

During the process I came to the opening night of Nabucco at Covent Garden where Sound Engineer Francis Gardner and I made ambient recordings of the pre-performance buzz in the foyer and I hope that these sounds give the sense of excitement that a new production brings with it. The piece features recordings of opening night ticket holders. I was lucky enough to speak to one audience member, Vania Barbara, who grew up in Italy and shared her personal stories about 'Va pensiero'. I recorded her speaking about the significance of the chorus to Italians, as well as Verdi's life, and these recollections are now weaved throughout the piece.

The piece is mixed in quadraphonic surround sound which should make for a great experience with some interesting interplay between recordings made at different speeds - I was able to create some interesting blurred harmonies with several choirs singing the same section coming from different speakers at different speeds.

One of the technical challenges was working with recordings of different qualities and volumes. This became a way of creating variation of texture in the piece, for example combining a full-sounding five-microphone recording of a choir with a compressed and slightly crackly YouTube recording.

During Deloitte Ignite the installation will be showcased in the magnificent space of the Crush Room, with its red plush furniture and chandeliers that make it feel like an extension of the main auditorium. Listeners can move around to experience the installation from different angles.

It's been fantastic have the opportunity to meet and work with so many people creating this installation and I hope that audiences enjoy the experience of hearing a classic opera chorus in a new and refreshing way.

Listen to an extract from the installation (mixed for stereo instead of quadrophonic sound):

The piece sees a troupe of dancers respond to the installation, a room filled with rain by Random International, except where visitors are standing. It is described as an opportunity to "control the rain". This is made possible by 3d sensory cameras fixed to the ceiling, which turn the water supply on and off depending on visitors' movements.